Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

In Papageorge’s own words, “The 66 photographs in this book were made between 1978-80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

Tod Papageorge
2nd printing
Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

John Cohen was a founding member of the New Lost City Ramblers, one of the folk revival’s most authentic and respected musical groups. In the 1960s he made a series of photographs of the last years of Woody Guthrie’s life, and early portraits of Bob Dylan on his arrival in New York, depicting two titans of American music at opposite ends of their careers. In the process, Cohen portrayed one of the great moments of American folk music history.

The book contains other images from the 1960s including the music scenes at Washington Square and on MacDougal Street in Greenwich Village, images of Jerry Garcia and the musicians in San Francisco’s “Family Dog,” as well as the psychedelic “Sky River Rock” festival.

In 1970, Dylan requested Cohen make another set of color photographs of him with a “camera that could take photographs from a block away.” By then, he had become world-famous. Bob was seen walking unrecognized on the streets of the city and at a farm in upstate NY. The photographs were used in Dylan’s album “Self Portrait".

Publisher: Steidl

152 pages

John Cohen
John Cohen was a founding member of the New Lost City Ramblers, one of the folk revival’s most authentic and respected musical groups. In the 1960s he made a series of photographs of the last years of Woody Guthrie’s life, and early portraits of Bob Dylan on his arrival in New York.

Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

"I began photographing musicians in 1975, in fact they were my roommates, the punk movement was just starting, so sometimes I took a picture…But in San Francisco, it was special. It was called “Art and Music”. The Mutants, The Dills, Flipper, Crime, SVT, The Yanks, Tuxedo Moon, The Tubes, Los Lobos, The Avengers, Dead Kennedys and Romeo Void, U2. Many of them were students at the San Francisco Art Institute. Members of The Mutants and Romeo Void of course. Chris Isaac of Silver Tones, too, and Bonnie Hayes & The Wild Bunch – Bonnie Hayes, one of the coolest girls in the punk scene. I was surrounded by these rock bands, both punks and artists. Suddenly these groups wanted images. They’d call me and say: “Stanley, I know you have pictures, you know, this magazine wants to do an article about us, etc.” And without realizing it, I became a professional photographer while still an art student…At the VU agency, when I arrived, they wanted these photos, these punk pictures, an assistant then asked me where were the contact sheets – but there was no contact sheets."

Thus 400 contact sheets from this period were made a few years later, when Teun van der Heijden – who directed the design of the Stanley’s book Black Passport – found the few prints the photographer had. Some images have been exhibited in Perpignan five years ago and the book is finally released for the 25th anniversary of Visa pour l’image. Since the success of Black Passport in 2009 (the award-winning book designed by the same book designer), Stanley Greene has not published a thematic book.

Born in 1949 in Brooklyn, New York, Stanley Greene has worked around the world as a photojournalist. His most famous work is his coverage of the war in Chechnya. He has received, among others, the W. Eugene Smith prize and the World Press five times. He has published several books, including Open Wound published by Trolley, and Black Passport. Stanley is a founding member of the Noor agency. He is based in Paris and New York.

Publisher: Andre Frer Editions

Size: 245 x 345 mm

176 pages, 110 images

Texts in English & French

Stanley Greene
"I began photographing musicians in 1975, in fact they were my roommates, the punk movement was just starting, so sometimes I took a picture…"

Ska is a music genre that originated in Jamaica in the late 1950s, as a precursor to Rocksteady and Reggae music. In 1960 the first Ska record was cut and with the migration of many Jamaicans to the United Kingdom. Ska was picked up by many of the white working class kids when these West Indies immigrants moved into, then predominately, white neighbourhoods. By the late 1960s it became popular and driving force with the British Mod movement.

Both Jamaican 'Rude boys' and British 'Skinheads' were young and working class. Both blacks and whites who often worked in factories, both shaved their heads and wore big boots as a matter of necessity; the original skinheads were both black and white. Like the original Rude Boys, Skinheads dressed sharp when they went out, despite having no obvious source of income to support a clothes habit.

Whatever cultural differences young blacks and whites had, in the late 60s one thing they did share (other than style) was music: Reggae, Rock Steady, original Ska and Soul music were all on the menu. While political weather and media frenzy demonized skinheads, the 2Tone and Ska movement remembered what skinheads originally loved and focused strictly on the music and antiracism by example; Skinheads who followed ska were unlikely to be racist if they were fans of black music and integrated bands.

During this varied and influential spread of Ska music throughout British music and culture, over the past 60 years, a section of dedicated Ska followers stayed firmly true to its original roots. Not only in the music tunes, but also equally as important within Ska's striking visual style, which has become key to this special and stylistically bloody-minded, elegant and self-believing movement.

The people photographed by Murray follow Ska music and regularly visit Ska clubs, are not political, they just live for the music and quite simply love to dance.

Ska is a music genre that originated in Jamaica in the late 1950s, as a precursor to Rocksteady and Reggae music. In 1960 the first Ska record was cut and with the migration of many Jamaicans to the United Kingdom. Ska was picked up by many of the white working class kids when these West Indies immigrants moved into, then predominately, white neighbourhoods. By the late 1960s it became popular and driving force with the British Mod movement.

Both Jamaican 'Rude boys' and British 'Skinheads' were young and working class. Both blacks and whites who often worked in factories, both shaved their heads and wore big boots as a matter of necessity; the original skinheads were both black and white. Like the original Rude Boys, Skinheads dressed sharp when they went out, despite having no obvious source of income to support a clothes habit.

Whatever cultural differences young blacks and whites had, in the late 60s one thing they did share (other than style) was music: Reggae, Rock Steady, original Ska and Soul music were all on the menu. While political weather and media frenzy demonized skinheads, the 2Tone and Ska movement remembered what skinheads originally loved and focused strictly on the music and antiracism by example; Skinheads who followed ska were unlikely to be racist if they were fans of black music and integrated bands.

During this varied and influential spread of Ska music throughout British music and culture, over the past 60 years, a section of dedicated Ska followers stayed firmly true to its original roots. Not only in the music tunes, but also equally as important within Ska's striking visual style, which has become key to this special and stylistically bloody-minded, elegant and self-believing movement.

The people photographed by Murray follow Ska music and regularly visit Ska clubs, are not political, they just live for the music and quite simply love to dance.

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms.

Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals.

This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms.

Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals.

This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

In a 2003 conversation with Ingrid Sischy, French designer Hedi Slimane described his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'

Slimane's photographs traverse the music and art scenes, street fashion and haute couture, and are as fresh as his groundbreaking work in fashion.

This volume collects his American photographs, taken in New York and Los Angeles between 2007 and 2011. Portraits of Gore Vidal, Kenneth Anger, Ed Ruscha, Courtney Love, Johnny Rotten, Brice Marden, skateboarders, and various male and female models are included alongside street scenes and still lifes.

In a 2003 conversation with Ingrid Sischy, French designer Hedi Slimane described his beginnings as a photographer: 'I started taking pictures before I even began in fashion. I didn't start with clothes until I was 16, but I had my first camera when I was 11. I've always taken pictures, almost like some people take notes or write down their thoughts.'

Slimane's photographs traverse the music and art scenes, street fashion and haute couture, and are as fresh as his groundbreaking work in fashion.

This volume collects his American photographs, taken in New York and Los Angeles between 2007 and 2011. Portraits of Gore Vidal, Kenneth Anger, Ed Ruscha, Courtney Love, Johnny Rotten, Brice Marden, skateboarders, and various male and female models are included alongside street scenes and still lifes.

Hedi Slimane began taking photographs long before he started making clothes, as Antholgoy of a Decade reveals: ‘I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, ‘almost like some people take notes or write down their thoughts.’

This volume collects black-and-white photographs taken in the UK between 2005 and 2010. It was during these years that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.

This book includes photographs of fans at gigs, images from Slimane's 'British Youth' series, portraits of James Jagger, Pete Doherty, Amy Winehouse, Kate Moss, Miles Kane, Arctic Monkeys, Test Icicles, The Paddingtons, The Libertines, These New Puritans, The Kills, Keith Richard's guitar collection, and the gravestone of William Blake.

Hedi Slimane began taking photographs long before he started making clothes, as Antholgoy of a Decade reveals: ‘I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, ‘almost like some people take notes or write down their thoughts.’

This volume collects black-and-white photographs taken in the UK between 2005 and 2010. It was during these years that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.

This book includes photographs of fans at gigs, images from Slimane's 'British Youth' series, portraits of James Jagger, Pete Doherty, Amy Winehouse, Kate Moss, Miles Kane, Arctic Monkeys, Test Icicles, The Paddingtons, The Libertines, These New Puritans, The Kills, Keith Richard's guitar collection, and the gravestone of William Blake.

Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'

This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.

It includes photographs taken at White Stripes, Babyshambles, Franz Ferdinand, Beck, and David Bowie gigs, as well as still lifes and portraits of Gus Van Sant, Courtney Love, Pete Doherty, and models from casting sessions during Slimane's tenures at Christian Dior and Yves Saint Laurent.

Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'

This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.

It includes photographs taken at White Stripes, Babyshambles, Franz Ferdinand, Beck, and David Bowie gigs, as well as still lifes and portraits of Gus Van Sant, Courtney Love, Pete Doherty, and models from casting sessions during Slimane's tenures at Christian Dior and Yves Saint Laurent.

“The music of Roscoe Holcomb transcended daily life. Although it was grounded in Appalachia, in East Kentucky, in his little town of Dais, his music traveled like it was on a path towards a distant star.” John CohenIn 1959 John Cohen traveled to East Kentucky looking for what he calls “old music”. Cohen asked for names at local gas stations but soon ran out of leads, and drove off the highway onto the next dirt road. Here he stumbled across Roscoe Holcomb playing the banjo and singing on his front porch in a way says Cohen, “that made the hairs on my neck stand up on end”. And so by pure chance began the life-long friendship that is the background for The High and Lonesome Sound.

Cohen visited Holcomb frequently over the next three decades, and made many photographs, films and records of his music. In time Holcomb, a poor coal miner by trade, became a regular feature on the American concert and festival circuits. The “strange beauty and discomfort” of his music – a mixture of blues, ballads and Baptist hymns, and unique through his high strained voice – was exposed to a larger audience. Nevertheless Holcomb died alone in a nursing home in 1981.

The High and Lonesome Sound combines Cohen’s vintage photos, film and musical recordings as well as an anecdotal text into a multimedia tribute to this underappreciated legend of American music whose every performance was in Cohen’s words “not just a rendition of music, but a test of something to be overcome”.

Publisher: Steidl

Size: 280 x 240 mm

216 pages

with a DVD with two films about Roscoe Holcomband a CD with music of Roscoe Holcomb

John Cohen
The High and Lonesome Sound combines Cohen’s vintage photos, film and musical recordings as well as an anecdotal text into a multimedia tribute to this underappreciated legend of American music whose every performance was in Cohen’s words “not just a rendition of music, but a test of something to be overcome”.

Publisher's Description PHOTOGRAPHER MICHAEL STIPE followed friend and fellow musician Patti Smith on tour for two weeks in 1995. Two Times Intro is his intimate and evocative visual diary of her return to live performance, along with portraits of other cultural celebrities, such as Allen Ginsberg, who appeared with her. From 1975's Horses to 2007's Twelve, Smith's creative vision has been a singular, explosive catalyst for artists and musicians worldwide--including Stipe. As William S. Burroughs writes in the introduction, Patti Smith's "effect on the audience is electric, comparable to voodoo or umbanda rituals, where the audience members become participants, and are literally lifted out of themselves." IN ADDITION TO TEXT BY STIPE (including a brand-new introduction for 2011), William S. Burroughs, and Patti Smith, there is also commentary from Thurston Moore, Kim Gordon, Lenny Kaye, Tom Verlaine, and others who have been inspired by Smith's work.

Michael StipePublisher's Description PHOTOGRAPHER MICHAEL STIPE followed friend and fellow musician Patti Smith on tour for two weeks in 1995. Two Times Intro is his intimate and evocative visual diary of her return to live performance, along with portraits of other cultural celebrities, such as Allen Ginsberg, who appeared with her. From 1975's Horses to 2007's Twelve, Smith's creative vision has been a singular, explosive catalyst for artists and musicians worldwide--including Stipe. As William S. Burroughs writes in the introduction, Patti Smith's "effect on the audience is electric, comparable to voodoo or umbanda rituals, where the audience members become participants, and are literally lifted out of themselves." IN ADDITION TO TEXT BY STIPE (including a brand-new introduction for 2011), William S. Burroughs, and Patti Smith, there is also commentary from Thurston Moore, Kim Gordon, Lenny Kaye, Tom Verlaine, and others who have been inspired by Smith's work.

Publisher's Description For 40 years, Bob Gruen’s name has been synonymous with rock and roll. From taking early photos on tour with Ike and Tina Turner, to capturing the early CBGB/Max’s Kansas City scene to covering current stadium rockers such as Green Day, Gruen has always been at the right place at the right time—and he’s always gotten the shot. In this lavish monograph, Gruen has curated his favorite photographs from his career, with intimate captions and behind-the-scenes anecdotes. Featuring such illustrious acts as the Clash, Led Zeppelin, the Rolling Stones, Sex Pistols, Ramones, and more, and including an introduction by the legendary Debbie Harry of Blondie, this collection is a must-have for all fans of rock and roll.

Praise for Rock Seen:

“Rock Seen offers a disarmingly natural look at icons like Blondie and Cher before the era of the posed rock-star portrait kicked in.”—Entertainment Weekly

“Go backstage with 40 years’ worth of rock-and-roll images from the legendary lens of Bob Gruen, who was once John Lennon’s personal photographer. From over-the-top action shots of Elton John’s acrobatics to private pics of Lennon and Yoko in bed with baby Sean to boozy plane rides with the Sex Pistols, the glossy pages act as your VIP pass to the rock-star lifestyle you’ve dreamed of.”—Marie Claire

“The official monograph of rock and roll’s most famous photographer, Rock Seen is a must-have for all rock fans.”—RollingStone.com

Bob Gruen (Introduction by Debbie Harry)Publisher's Description For 40 years, Bob Gruen’s name has been synonymous with rock and roll. From taking early photos on tour with Ike and Tina Turner, to capturing the early CBGB/Max’s Kansas City scene to covering current stadium rockers such as Green Day, Gruen has always been at the right place at the right time—and he’s always gotten the shot. In this lavish monograph, Gruen has curated his favorite photographs from his career, with intimate captions and behind-the-scenes anecdotes. Featuring such illustrious acts as the Clash, Led Zeppelin, the Rolling Stones, Sex Pistols, Ramones, and more, and including an introduction by the legendary Debbie Harry of Blondie, this collection is a must-have for all fans of rock and roll.

Praise for Rock Seen:

“Rock Seen offers a disarmingly natural look at icons like Blondie and Cher before the era of the posed rock-star portrait kicked in.”—Entertainment Weekly

“Go backstage with 40 years’ worth of rock-and-roll images from the legendary lens of Bob Gruen, who was once John Lennon’s personal photographer. From over-the-top action shots of Elton John’s acrobatics to private pics of Lennon and Yoko in bed with baby Sean to boozy plane rides with the Sex Pistols, the glossy pages act as your VIP pass to the rock-star lifestyle you’ve dreamed of.”—Marie Claire

“The official monograph of rock and roll’s most famous photographer, Rock Seen is a must-have for all rock fans.”—RollingStone.com

Publisher's Description
For three world-famous days in August 1969, 500,000 people spontaneously gathered for a happening like nothing before or since. Peace and love, aromatic smoke, and the sounds of the greatest rock n roll show wafted through the air and became a legendary event that’s never been duplicated. Forty years later, Woodstock is still celebrated for the spirit it represents.

As part of the Academy Award-winning “Woodstock” documentary film team, still photographer Barry Z Levine captured it all. Arriving days before the crowds, when the site was still a grassy cow pasture, and continuing to photograph long after the last of them had departed, when it had become a debris strewn mud hole, Levine took so many pictures that he had blisters on his index finger and thumb from clicking the shutter and advancing the film. Over the course of that tumultuous week, the only time he stopped was for a 45 minute nap on the piano cover on stage during the Blood, Sweat & Tears performance. More than 240 of Levine’s full color photographs, many never-before-seen, are together for the first time in a new book, THE WOODSTOCK STORY BOOK . With text written by Linanne G. Sackett that resonates with the humor and charm of Dr. Seuss, the book presents a chronological account of the event and captures the performers, personalities, audience, excitement, mood, and action from the beginning--the conversion of Max Yasgur’s cow pasture into the world famous iconic site all the way through three days of fun, sun, and storms to the garbage strewn aftermath.

THE WOODSTOCK STORY BOOK contains many exceptional, never-before-seen photographs of Jimi Hendrix, Janis Joplin, Jerry Garcia, the Who, Joe Cocker, Jefferson Airplane, Joan Baez, The Band, Sly and th eFamily Stone, John Sebastian, Ten Years After, The Incredible String Band, Tim Hardin, Crosby, Stills, Nash & Young, and many more captured through the lens of a festival insider. It’s a Must Have for anyone who was at Woodstock, wish they had been, or for anyone wanting a bird’s eye look at a great historical event of the 60’s.

Linanne G. Sackett (Author) & Barry Z. Levine (Photographer)Publisher's Description
For three world-famous days in August 1969, 500,000 people spontaneously gathered for a happening like nothing before or since. Peace and love, aromatic smoke, and the sounds of the greatest rock n roll show wafted through the air and became a legendary event that’s never been duplicated. Forty years later, Woodstock is still celebrated for the spirit it represents.

As part of the Academy Award-winning “Woodstock” documentary film team, still photographer Barry Z Levine captured it all. Arriving days before the crowds, when the site was still a grassy cow pasture, and continuing to photograph long after the last of them had departed, when it had become a debris strewn mud hole, Levine took so many pictures that he had blisters on his index finger and thumb from clicking the shutter and advancing the film. Over the course of that tumultuous week, the only time he stopped was for a 45 minute nap on the piano cover on stage during the Blood, Sweat & Tears performance. More than 240 of Levine’s full color photographs, many never-before-seen, are together for the first time in a new book, THE WOODSTOCK STORY BOOK . With text written by Linanne G. Sackett that resonates with the humor and charm of Dr. Seuss, the book presents a chronological account of the event and captures the performers, personalities, audience, excitement, mood, and action from the beginning--the conversion of Max Yasgur’s cow pasture into the world famous iconic site all the way through three days of fun, sun, and storms to the garbage strewn aftermath.

THE WOODSTOCK STORY BOOK contains many exceptional, never-before-seen photographs of Jimi Hendrix, Janis Joplin, Jerry Garcia, the Who, Joe Cocker, Jefferson Airplane, Joan Baez, The Band, Sly and th eFamily Stone, John Sebastian, Ten Years After, The Incredible String Band, Tim Hardin, Crosby, Stills, Nash & Young, and many more captured through the lens of a festival insider. It’s a Must Have for anyone who was at Woodstock, wish they had been, or for anyone wanting a bird’s eye look at a great historical event of the 60’s.

Publisher's Description
Desirer Walks the Streets presents a dark stream of black and white photographs that are culled from Andy Summers's life as a traveling musician. From a working life that outwardly would appear to be extroverted and chaotic, Summers has created a set of quietly compelling images that contradict the obvious. Made between 1983 and 2008, with a preference for the night shot, and covering a wide geographical graph from the Alto Plano of Bolivia to the alleys of the Golden Gai in Tokyo, the photographs convey a sense of intimacy, surrealism and situations that may be described as ‘in media res.’ Summers states that his photography may indeed be influenced by his absorption with music and that in a sense the photography he creates is a visual counterpart to the music that never leaves his head. Thus in Summers musical predilections – that may be termed as a taste for the melancholic, the convulsive melodic line, the dark chord with a few stray notes added – we find the brooding minor key photography he is attracted to. He adds that music and photography are kindred spirits in that they are nonverbal arts, but handily, may have interchangeable terms. He describes his own act of photography as tearing pages from a book and then reshuffling the results into a new visual syntax. Desirer Walks the Streets is the third monograph by Andy Summers and his first for Nazraeli Press. Andy Summers has been active as photographer since 1979 with numerous exhibitions, magazine essays, publications, and recently, keynote presentations of his photography. The recipient of a large number of music awards he is also a Doctor of the Arts and a Chevalier des Artes et Lettres.

Publisher: Nazraeli Press
Size: 9 x 14'
128 pages, 84 duotone plates

Publisher's Price: £40.00

Andy SummersPublisher's Description
Desirer Walks the Streets presents a dark stream of black and white photographs that are culled from Andy Summers's life as a traveling musician. From a working life that outwardly would appear to be extroverted and chaotic, Summers has created a set of quietly compelling images that contradict the obvious. Made between 1983 and 2008, with a preference for the night shot, and covering a wide geographical graph from the Alto Plano of Bolivia to the alleys of the Golden Gai in Tokyo, the photographs convey a sense of intimacy, surrealism and situations that may be described as ‘in media res.’ Summers states that his photography may indeed be influenced by his absorption with music and that in a sense the photography he creates is a visual counterpart to the music that never leaves his head. Thus in Summers musical predilections – that may be termed as a taste for the melancholic, the convulsive melodic line, the dark chord with a few stray notes added – we find the brooding minor key photography he is attracted to. He adds that music and photography are kindred spirits in that they are nonverbal arts, but handily, may have interchangeable terms. He describes his own act of photography as tearing pages from a book and then reshuffling the results into a new visual syntax. Desirer Walks the Streets is the third monograph by Andy Summers and his first for Nazraeli Press. Andy Summers has been active as photographer since 1979 with numerous exhibitions, magazine essays, publications, and recently, keynote presentations of his photography. The recipient of a large number of music awards he is also a Doctor of the Arts and a Chevalier des Artes et Lettres.